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Transcript of Working Drawings of Colonial Furniture - 1922
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WORKING DRAWINGSf
COLONIAL FURNITURE
by
FREDERICK J. BRYANT
SUPERVISOR OF MANUAL ARTS
AUBURN, MAINE
THE MANUAL ARTS PRESS
PEORIA, ILLINOIS
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COPYRIGHT 1922
FREDKRICK J. BRYANT
23H31
Printed in Hie United Stales of America
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b!3
c/x
PREFACE
of the increasing demand for woodworking pro-
jects embracing the designs of the famous masters, Chippen-
dale, Hepplewhite, and Sheraton, the author has endeavored
to secure dimensioned sketches and photographs of old
fashioned furniture. While this collection does notrepresent
the
highest types, there are features in all which merit distinction. Onlythose which could be copied by junior and senior high-schooii students
have been considered. Nothing has been added to or detracted from the
original measurements.
It is hoped that these drawings and illustrations will afford an inspi-
ration for instructors and students. For reference work, Woodwork
for Secondary Schools, by I. S. Griffith, (The Manual Arts Press,
Peoria, 111.) will prove of great value.
While this book is designed for use in the schools, it need not be so
confined. Its scope and practical treatment should fit it for the use of
all who enjoy the pleasure of creating things of wood.
Acknowledgment is made to the magazine The House Beautiful for
the use of one of the illustrations.
FREDERICK J. BRYANT.
Auburn, Maine, July 1921
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IN SUCH A HOUSE COLONIAL FURNITURE is FOUND
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CONTENTSPAGE
GATE-LEG TABLE 7
SHERATON CARD TABLE 10
SHERATON WORK TABLE 12
SHERATON BREAKFAST TABLE 14
TAVERN TABLE 16
MAHOGANY TEA TABLE 18
HEPPLEWHITE WORK TABLE 20
HEPPLEWHITE CARD TABLE 22
EMPIRE CARD TABLE 24
MAHOGANY Tip-Top TABLE 26
GRANDFATHER CLOCK 31
BANJO CLOCK 36
WINDSOR CHAIRS 38
HEPPLEWHITE CHAIR 44
EMPIRE CHAIR 46
COLONIAL LOOKING GLASS 48
OLD FASHIONED MIRROR 50
WOOD FINISHING 52
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GATE-LEG TABLE AND BANNISTER-BACK CHAIR BELONGING TO THE OLIVER FAMILY, SCARBORO, ME.DATE BACK TO 1680. PASSED DOWN IN FAMILY FOR EIGHT GENERATIONS
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GATE-LEG TABLE
DUEto the present popularity of period furniture designs, the
demand for gate-leg tables has almost become a fad. Thousands
of reproductions have been made and the style has been highly featured
in magazines and books of recent publication. During the Colonial
days the tables were often made of oak. William Penn owned one of
this kind. Later models were made of walnut and maple. Most of
them are now made of mahogany, walnut, gum and birch. Those
made of other woods like poplar or whitewood and pine are often
finished in tones of ivory, cream or gray, with decorative patterns
stenciled on the top surface.
DIRECTIONS FOR MAKING THE TABLE
To reproduce the table shown on these
drawings, turn the legs and stretchers on
the lathe. Cut out the stock to dimen-
sions for other parts of the table and then
proceed with the assembly of the end
frames. Cut the notches and glue up the
two gates. Locate and bore the pivot
centers and cut the notches on the cross-
rails and long stretchers. It is advisable
to put the rest of the table together, using
clamps,but no
glue.This is to see if all
parts are properly placed and if the gates
are hung correctly. Testing with a steel
square will help to check up the work. If
the table frame and gates all rest evenly
on the floor, either in open or closed
position, the joints are ready for glueing.
A drawer 24" deep is made to slide in on
one end, and a drawer pull similar to
No. 2 on page 28 should be used. All
the joints are mortised and tenoned and
also doweled. The appearance of dowels
on the outside is not objectionable on
gate-leg or tavern tables. The top is oval
in shape and has beaded edges to match
the leaves. Plain butt hinges are fastened
to the underside of the leaves and table
top. The finish is one of choice and
depends largely on the kind of wood used
to make the table. The original one is
made of maple and is stained a dark
brown color.
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WORKING DRAWINGS OF COLONIAL FURNITURE
GSITE LEG TABLE
r/?OM SCARBORO, MAINE
AS/IDE ABOUT /6QO
PLAH SECTION THROUGH /I~B
PLATE I
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GATE-LEG TABLE
/"/fcw section, one
end, fop removed
LEG TABLE
MADE ABOUT /68O
PLATE II
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SHERATON CARD TABLE
INmany instances it is rather difficult to distinguish the difference
between Hepplewhite and Sheraton designs. Sheraton published
a book in 1791 and another in 1804. He no doubt was influenced by
the designs of Hepplewhite. His early work was much better than
that which appeared near the close of the eighteenth century.
DIRECTIONS FOR MAKING THE TABLE
In some respects this table is similar in
construction to the one on page 23. The
legs instead of be-
ing square are round
and reeded, or flut-
ed, as it is often
called. To make a
reproduction of this
table, first cut four
pieces of mahoganyfor the legs. Twoof these pieces
should have a
quarter-section re-
moved so that they
can be easily fas-
tened to the table
frame on the front
side. Temporarypieces can be glued
into these places
while the legs are
being turned on the
attach it to the posts in a like manner.
All this can be done while the legs are
in the lathe which
will hold them se-
curely. Be sure to
have the ends of
both paper strips in
linewith each other,
and then connect
the points on the
upper strip with
corres pondingpoints on the lower
one, using a
straight-edge about
17" long. Draw the
lines with a sharp
point and pass over
each line a number
of times. Take two
thin pieces of steel
and shape them like
lathe. The reeding can be done by hand.
Mark off a strip of paper into twelve
equal parts, the paper being long enoughto pass around the post where the reed-
ing commences. Paste this strip on the
wood at that point. Prepare another
paper for the lower end of the legs where
the reeding stops and after dividing this
piece into the same number of parts,
A SHERATON TABLE WHICH is OWNED BY WILLIAM
GERRISH, OF SACO, MAINE
Fig. 13 on page 29.
Hold each one as firmly as possible and
deepen the lines. A few strokes on eachone will develop the reeds which can be
sandpapered afterward.
The back legs are made up the same
as the front legs except that they are
square at the upper end where the rails
are attached. The frame of the table
is much like that of the Hepplewhite
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SHERATON CARD TABLE
ajm emu*MAHOGANY
P/IHEL. /NLAYS OF CURLY
M/IPLE AMD DARK GRAINED
MAHOGANY /IRE BORDEREDONE-HALFINCH STRIPS
0/=- CROSS GRAINED MAHOGANY.
FOR HINGE DETAIL. SEEDRSJW/NG Or EMP/ftE PERIOD
DOTTED i-INES SHOWSUPPORTING POSIT/ONOFPOST "D" WHEN
TOP L AF /S DO IV/V
I St 3 * S f> 7 e 9 IO ~ll 12
<SMERATON G/tftD TABLE
PORTLAND, M/UNE
ABOUT /8OO
PLATE III
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WORKING DRAWINGS OF COLONIAL FURNITURE
table, page 23. The rails are pine
with heavy pieces glued on the front
and two ends. Mark out the curves
which are shown on the drawing and
band-saw close to the lines. Save the
waste pieces and use them as cauls when
glueing the veneers. The satinwood or
maple marquetry panels should be glued
in place and the borders afterward.
These borders are ^" wide and are for
the front only, so the end rails must be
veneered with mahogany. The hinges
are the same as shown in Fig. 10, page
29. The top is made up in two parts. The
lower one is plain and the other is inlaid
along the edge.
SHERATON WORK TABLE
THISis the one table in this collection of drawings which should
be the stepping-stone for the more difficult projects. It is quite
small, has good lines and can be slightly modified from the drawing.
It is suggested that this table be
made first by the student if he con-
templates the making of any of the
card tables.
DIRECTIONS FOR MAKING
THE TABLE
Before turning the legs, cut out a quar-
ter-section of the four legs down 6$4," from
the top and glue in temporary pieces. Locate
the centers accurately on the lathe and turn
down the wood to the proper dimensions.
The table will look much better if the
legs are reeded as described on page 10.
When the legs are finished the table frame
can be put together. To attach the legs,
remove the temporary pieces and they can
be screwed to the frame. A drawer with
a veneered front should be made. The
picture shows a wooden knob on the front. This should not be copied as it is
not the original and belongs to a later style whichdeveloped
near the close
of the Empire period. A drawer pull similar to No. n on page 28 is suggested
for the reproduction.
A SHERATON WORK TABLE WHICH is EASY TO
REPRODUCE, OR WHICH MAY BE MODIFIED
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SHERATON WORK TABLE
SHERATON IVoff/f
FROM Buxro
MADE /laour /82O
PLATE IV
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SHERATON BREAKFAST TABLE
THIStable is one of very pleasing lines and is not a difficult pro-
ject to make. While it is termed a breakfast table, there is no
reason why it cannot find an appropriate place in any room. The
characteristics of a table of this kind consist of the drop leaves, which
are held up by wooden brackets that swing under the top. It is made
of mahogany and has some inlay on the outer edges of the legs and
border strips of inlay can be found along the lower edges of the rails.
DIRECTIONS FOR MAKING THE TABLE
Plane up the stock for the legs, making
the tapers as shown. These should stop
within 4//2
//of the top. It is advisable to
cut the mortises before doing any inlay
THIS SHERATON BREAKFAST TABLE CAN BE PUT TOA VARIETY OF USES. IT WAS NAMED "PEMBROKE"TABLE BY SHERATON, AFTER THE LADY FOR WHOM
THE FIRST ONE WAS MADE
work as the lines may be injured in
handling. The cross-rail in the rear is
mahogany and the side-rails are made of
pine with maple facing, part of which
consists of the wooden hinges. Section
d B on the drawing of the Hepplewhite
card table, page 23, shows the details of
such hinges.
Inlaying the legs with white holly
lines is an easy process. An ordinary
marking gage with the spur sharpened as
shown in Fig. 12 on page 29 will cut andclean the grooves. The corners can be
cleared by scoring lines with a sharp
knife and removing the wrood with the
tang of a small file previously sharpened.
Apply glue to three sides of the inlay and
press it firmly into the grooves. The
handle of a bench knife is useful for this.
Remove enough wood for the insertion of
the oval centers near the top of the legs
and glue in place, using a clamp on each
one. After they are dry, remove the
clamps, carefully score and cut out the
wood for the white holly border. These
oval centers can be made by cutting out
thin sheets of dark grained mahogany. If
the veneer is dampened it will not crack.
If it is notpossible
to secure the
ebonyveneers for the bands around the lower
ends of the legs, a fine imitation can be
made by knifing the lines around the legs
and then applying two or more thin
coats of black shellac. The lines must be
cut deep enough to prevent the color
from running over the edges.
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SHERATON BREAKFAST TABLE
Hinge open Chamfer
Section A-B
Handmade3c,
Section
fhrouyh side
rails.
i '//?"*>^_ Mople hinge for
i \-y*~Sf>elf Support-
Detail of
fnlar on the
fourSides
Inlay on out-
side surfacesonly
tt
Drawer2O" Deep
/**'-In/ay
aE:
/c%'/7^/^ %/
of fab'e.
Handmade3cre*
Section /
fn/aid Oi/al
White holly borderDorx groin mahooony
center^ same onbo+h ends
INLAID SHERATONPEMBROKE BREAKFAST
TABLE. MADEABOUT 1770
gca/e /2. /nches
PLATE V
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TAVERN TABLE
TIAVERN tables are among the early types developed in this
country and are eagerly sought for by collectors of the antique.
Reproductions
mon and are
modern home,
were generally
tops and maple
ers, and painted
color. The pres-
to follow the
improve the fin-
higher gradethe staining and
the same as for
Dark shades
well as light
if the wood used
tion is of the
specified in the
OLD TAVERN TABLE DISCOVERED AT BUXTON,
MAINE, BY THE AUTHOR. IT WAS MADEABOUT 1720
are quite corn-
desirable in the
The old tables
made with pine
legs and stretch-
in almost anyent tendency is
same design and
ish by using a
cabinet wood,
finishing being
any other table,
may be used as
ones, especially
in the reproduc-
same kind as
drawing.
DIRECTIONS FOR MAKING THE TABLE
Glue up the stock for the top and while
it is drying, the legs can be turned on the
lathe. Make a full size lay-out of the end
view of the table to determine the angles
needed for the jointing of the cross rails
under the top and the stretchers below.
Ail the joints of the frame are mortised
and tenoned and doweled. After the
frame is put together, the top can be set
in place as shown on the drawing, or the
more modern way of fastening from the
under side can be used. In the latter
case the cleat is not essential but should
be used to carry out the eifect. It also
may prevent the table top from warping
out of shape due to the long overhang
which extends beyond the sides of the
table frame.
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OLD TAVERN TABLE
Detail of L e.o.
PLATE VI
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MAHOGANY TEA TABLE
THISdrawing introduces another style which was very much in
evidence during the Colonial days. Because of its singular
form and beauty it is one of the best of the period designs. Mahoganyis used throughout and the only inlay used is found along the edge of the
top. The tripod base on this table is often called "snake foot" which
distinguishes it somewhat from the shape of the base on the tip-top table.
DIRECTIONS FOR MAKING THE TABLE
It will take a piece of mahogany about
21" square to make the top. A heavy
paper pattern of one side of the top can be
TEA TABLE WITH "SNAKE FOOT'BASE
used to make the outline the same on all
sides. The top may be cut to shape on the
band-saw. Smooth up the edges, and
then with a sharp marking-gage score two
lines around the edge. Remove the wood
between the two lines and glue in the
inlay border. If it shows any signs of
cracking on the corners, dampen it. Rub
the inlay firmly with the handle of a knife
and wipe off any superfluous glue.
The pedestal should now be turned onthe lathe. Any dimensions needed can be
scaled from the drawing. Be sure to
include a i" pin on the upper end of the
pedestal. This is for the square maple
block which is placed on top. Measure up
2$4" from the lower end and make a fine
line with a pair of dividers. This line
limits the highest position of the three
feet. Parts of this line will show when the
table is assembled, but it is present on all
tables of this kind.
Take a sheet of cardboard and rule it
off in 2" squares, and from the drawing
reproduce the curves which form the
outline of the feet. Allow W for the
dovetails. Cut out the pattern, trace it on
wood, having the grain run the longest
way and band-saw the pieces. Now taper
the legs and round over the upper sur-
faces. A small thin piece of wood is glued
to the base of each foot. To cut the
dovetails on the pedestal and locate the
feet proceed as follows: Take a narrow
strip of paper equal in length to the cir-
18
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MAHOGANY TEA TABLE
t=bMethod ofmakingdowel
for hing/ny
table top
Method of
fastening legs,
Ebon/and
ty/>/'fe hoiI/
inlay on edge
MAHOGANY TEA TABLE
FROM QOFfHAM, MAINE.
MADEABOUT i?6O.
PLATE VII
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WORKING DRAWINGS OF COLONIAL FURNITURE
cumference of the post and space it off into
three equal parts with a pencil. Paste the
strip around the post and transfer the
marks on the wood. Now place the ped-
estal in a horizontal position in the vise
and with a rule, draw lines thru these
points. These are center lines. Measure
from them on each side jH?" and draw
lines. The next step is to flatten these
places where the feet are to be dove-
tailed. Lay out the dovetails on the ends
of the post and the flattened area; and
make up the joints. Glue the feet in
place. Make the cleat for the underside
of the top; also a maple block 5" square
with a i" hole thru the center and two
pivot pins on the ends, as shown on the
drawing. Locate the top so that it will
swing down directly in front of one of the
legs. The table will not tip over so easily
if made this way. A metal catch locks the
top down when in a horizontal position.
HEPPLEWHITE WORK TABLE
THIStable is made of mahogany and has the usual amount of
inlay. The shape and design identify it with the Hepplewhite
period. Like the card table, the legs are tapered, inlaid and banded
near the bottom. There is one compartment on each end and a drawer
in the center.
DIRECTIONS FOR MAKING THE TABLE
Follow the general directions for mak-
ing the Hepplewhite card table on page 22.
Make a drawer for the middle of the
table and place what inlay is needed. Cut
made or obtained, the curve can be band-
sawed from thicker material. The bottom
is set in on the underside and is %"thick. The ebony bands around the
mortises on the ends of the posts to bottom of the posts are essential to
connect the half-circle .compartments
with the main frame. Five-ply stock is
used for the ends and if this cannot be
this particular piece of furniture and
directions and suggestions are given on
page 14.
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HEPPLEWHITE WORK TABLE
HEPPLEWHITE WORK-TABLE.
FROM AUBURN, MA/NE.
MADE ABOUT JJQS.
PLATE VIII
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HEPPLEWHITE CARD TABLE
MANYwho are interested in antiques consider Hepplewhite's
designs to be the best. He published a book in 1789 called,
The Cabinet-maker and Upholsterer's Guide, or Repository of Designs for
Every Article of Household Furniture in the Newest and Most Approved
Taste. His chairs, sideboards, and tables represent his best efforts.
They are graceful, beautifully inlaid and delicate in appearance.
DIRECTIONS FOR MAKING THE TABLE
Plane and taper the four posts and
inlay the front and outer surfaces. Stop
the inlay about 3" from the bottom and
copy the ebony border which is shown on
the drawing of the Breakfast Table on
page 14. If the ebony veneer cannot be
obtained, follow the suggestions offered on
that page. The directions for inlaying
are the same. Use well seasoned pine or
other soft wood for the rails which are to
be veneered. Dovetail the joints where
the movable post is and glue corner blocks
to further strengthen the frame. Two
heavy pieces of pine are glued and
screwed to the frontposts
and end rails.
The back rail of pine is reinforced with a
piece of maple (see Fig. 9 on page 29)
half of which is mortised to the movable
post and hinged about midway. The
remaining half is fastened to the table
frame. A detail of the wooden hinge can
be found on the drawing, Section A B.
Use sheet veneer to cover the pine rails
and after it is dry, part of it can be cut
away for the border which passes along
the lower edge. Use a marking gage with
a spur as shown in Fig. 12 on page 29 to
cut the grooves for the inlay lines.
The table top is made up in two parts.
The first one is plain and has no inlay.
It extends %" beyond all parts of the
frame and posts and has a concave bevel
on the under side. The other has a square
edge and a narrow inlay border as shown
in the detail.
The hingesare
madeof
brass and are placed on the ends. For
dimensions see the drawing of the
Empire Card Table on page 25, and Fig.
10 on page 29. For detail of inlay at
the lower end of the legs, see plate V.
23
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HEPPLEVVHITE CARD TABLE
HEPPLEWHITE CARD TABLE-zz 4-"
Section
show/ngthe
Top and L eaf h/nyed together.
Section J{~
J)etai/ of Hinge
/te/tf// showing edje
of Top Leaf
PLATE IX
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EMPIRE CARD TABLE
THEEmpire style followed the passing of the Hepplewhite and
Sheraton designs. It is very easy to distinguish from the others.
Sweeping curves, heavier construction and some carving can be found,
which are the characteristics pertaining to this type. The early designs
of the Empire are excellent, but the later ones were often made too
heavy and after 1830 the style was gradually lost in the ugly shaped
black walnut with which we are all so familiar.
DIRECTIONS FOR MAKING THE TABLE
The only departure from ordinary
cabinet work in the making of this table
is to prepare the four mahogany legs with
the spiral or helical
curves. After the
posts are turned,
the spirals can be
marked on the post
by laying out the
pitchwhich is
6^inches. A paper pat-
tern of thecurve can
be used to develop
the lines on the sur-
face of the legs. To
do this take a sheet
of drawing paper
which is about 7"
wide and cut it 6^"long. Draw a line in
the center of the
paper perpendicular
to the newly cut
end. At one end of
the paper measure the distance equal to
the circumference of the leg where the
spiral is to start, as at AB, taking
one
half the distance in each direction from
the center line. Now measure the cir-
cumference of the leg at C, and apply this
measurement to the lower end of the
paper in a similar manner. Connect
points on the lower end with correspond-
ing points on the upper end and cut on the
EMPIRE TABLE MADE ABOUT 1800. THE TOP is
PIVOTED AS SHOWN IN DRAWING
lines. Now cut the paper on a diagonal,
and either one of the pieces thus produced
may be wrapped around the leg and a
line drawn on the
diagonal. This line
will indicate the
spiral to be cut.
Shift this templet
into a new position
for each of the five
spirals to be cut.
Continue the lines
to the lower end.
Indent these lines
with a sharp point
and file to a depth
of y%" and round
over the edges to
conform with the
cross-section shown.
Finish the process
with sandpaper.
The posts are
mortised to the rails
which are pine. These are veneered with
cross-grained mahogany. A compartment
is built in on one side of the table and can
only be reached by raising the table top.
A wooden knob acts as a pivot, passing
through a cross-piece which is mortised
into the long rails. (See Fig. 8 page 29).
Both table tops are' ^" thick and are
rounded over along the edges. The
hinges are of brass.
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EMPIRE PERIOD CARD TABLE -5
M,'VrU*J
,M
Hr\
33-
-J2
^*-
o>to
05
I
whet
accessib/eonly
fofisare dow/?.
/6
a ilVer?eer.
J2^L L
4
A'
C/IXP
/^rom <
Made /8OO~/820
PLATE X
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MAHOGANY TIP-TOP TABLE
THIStable is of a later period than the tea table shown on page 1 8.
In reproducing this table in the Auburn high school, the drawing
has been somewhat modified in order to obtain a more graceful curve
in the design of the legs. The outer edges were rounded over in some
cases and white holly lines were inlaid. These lines were Vie'7
from the
edge and 2"
up from the bottom and I"down from the upper end
where the legs fit into the standard.
DIRECTIONS FOR MAKING THE TABLE
Lay out and cut the shape of the top on
a piece of prettily grained
mahogany. Prepare a
piece of satinwood or
curly grained maple tobe used for the center
of the marquetry. Set
it in place on the top
and scribe around it
with a knife. Now care-
fully remove the wood
between the lines and,
with a router, level the
place so that when the
center is glued its top
surface will be flush with
the top of the table.
When it is dry score
knife lines around it and
cut the groove for the
border. Miter the cor-
ners.
Take the top over to
the circular saw and cut
away space for the X"border. The cut should
be equal to the thick-
ness of the veneer and
inlay. The next step is
MAHOGANY Tip-Top TABLE, INLAID IN
MAPLE AND SATIN WOOD
26
to glue the white holly line along the
inner edge. Next place
the cross-grained veneer
in position. The corners
must be mitered. Noweven up the outer edge
on the saw. After the
work has been allowed to
dry thoroughly, a narrow
groove can be cut on
the saw along the edge
for the outside white
holly lines. Use the
same pattern in this
groove as was placed
around the marquetry.
The pedestal can now
be turned on the lathe
and the locating of the
three feet is done the
same way as for the
mahoganytea table
described on page 18.
The shaping of the feet,
making the maple block
and the cleats are all
mentioned in the same
project and can be ap-
plied to this one.
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MAHOGANY TIP-TOP TABLE -7
MAHOGANY TIP-TOP TABLE
From Portland, Maine
Made about /30O
PLATE XI
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28 WORKING DRAWINGS OF COLONIAL FURNITURE
CHIPPENDALE ijeo a. HEPPLCWHITE
or
>- COLONIAL FURNITURE
HANDLES USED ON THE
CHIPPENDALE, HEPPLEWHITE, SHERATON AND EMPIRE STYLES.
IQOO-IQIO
PLATE XII
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GENERAL DETAILS OF CONSTRUCTION
Sheraton BreakfastTable Detai/show-
ing /ocafion ofhingeon drop /eares
FIG 8e Card Table. S*7et/iod used to /ocatc
cefi-ter- on anr table iv/'th rero/r/nq fop
f~'lG.9.
Wooden hinoe on bacn of Cord Tot>/es
FIG. II
En/oryed view of
5pur bo/fit On rnortr~
>'ny f"if usedfor
/'n/af/'no.
F/G /O.
Corof Table H/nye. f^ormeasurements see
Cf/~oty//yof Empire Cord Tab/e
Old Fashioned Mirror.
Method for holdingtwo
pieces together for turn-
inQ on the lathe.
\U$e#ifirstack saw blades
o
Banjo C/OCH. Method used
n9/ueifij up stock for
Sheraton Card Table Pain I*
used for rccdiny /ejs
/VG./6
Bonjo C/oot.
thod showngscroll pattern fasten-
d on board for strength.
PLATE XIII
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GRANDFATHER CLOCK
TALLclocks like old fashioned furniture can be traced by studying
the design of the case and the works. The first ones were made
with square shaped hoods or bonnets, dating as early as 1700. Later
models were made with movements which have moving figures of ships,
boats, or a minia-
different phases,
these extra parts,
added. Up to the
lutionaryWar most
were made of brass
England.For some
was not possible to
and so American
their works of
these clock makers
Connecticut.
Harland, andWhit-
the manufacturers,
for clock peddlers
country and sell
works. Quite often
simply hung up on
more money was
cabinet maker was
a case. This is one
hardly any twoalike. The best
OLD FASHIONED GRANDFATHER CLOCK
ture moon in her
To make room for
the arched top was
time of the Revo-
of the clock works
and imported from
time afterward it
secure any more
clockmakers made
wood. Most of
were located in
Terry, Hoadley,
ing were some of
It was the custom
to ride around the
these woodenthe movement was
the wall and when
available, the local
called in to make
of the reasons why
cases can be foundcases were made of
mahogany with very elaborate carving and inlaying. The cheaper
cases were generally made of pine and either painted or grained to
imitate the better cabinet woods. Some very beautiful cases with
brass movements were made by the leading clock makers and can be
found running in perfect order today.
DIRECTIONS FOR MAKING THE CASE
This project is so large that it will be
better to regard the making of the case as a
separate undertaking. A complete case of
mahogany will cost a little more but will
be much more valuable. On the other
hand, by using well seasoned stock a
veneer of l
/i" can be placed on all outside
surfaces. To start the case, shape up a
board for the back if wide and 6'-8><"
long. Work out the outline and then build
on the sides which have the heavy cleats
4" along the upper edges. Put on
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WORKING DRAWINGS OF COLONIAL FURNITURE
the front which also has a cleat. Now
place the long sides 7%" wide and fasten
them securely to the back of the case and
to the cleats. On the inside, place corner
blocks every 12" apart. These sides stop
1324" from the top. The long narrow
pieces on each side of the door are 2^4"
wide and extend 3" above the upper
moulding. Notch them before fastening
to the case and mortise the cross rails
above and below. Quarter-round mould-
ings fit into the notches and thin pieces of
wood or brass should be located at the
ends. Fluted or reeded corners will look
better than the plain style which is shown
on this case. Make up all the mouldings
as shown in the sections. A cross rail is
found just above the bonnet moulding on
the case and is jointed to the 2%" stiles.
Wooden supports are placed on the in-
side of the case to hold the works. The
floor of the case is made of heavy stock
owing to the strain that may be brought
to bear upon it due to a falling weight.
DIRECTIONS FOR MAKING THE BONNET
The bonnet will prove to be a more
difficult undertaking. As the sides are
only 5/X6" thick it will be easier to make
the arch first and join the sides to it.
Commence where the round columns
stop. Band-saw a piece of i" pine stock
with an outside radius of
7"and an inside
radius of $%". Dovetail both ends of
this piece as shown on Plate XV. The front
crown is of one piece igj/z" long and has
a 7" radius on the outside and 5fi"
radius on the underside. It will take a
piece of wood 2^" thick to make the arch.
If the front surface for a thickness of ^"is mahogany, the rest of the material can
be made of pine. This will permit shap-
ing out the moulding without cutting
thru into the pine. Sections C D and
Y, Plate XV, give the details. These
can be worked out with a few gouges
and sandpaper. The front and rear
arches are connected with similar shaped
mouldings 10" long and mitered on
the front end and dove-tailed at the
rear. The top of the bonnet is covered
with thin strips of wood which are
reinforced with a piece of canvas or
drilling. A mat of mahogany S/^" thick is
set behind the door and is glued to the
inside edge of the front arch (see Section
C D). The joints are half-lapped at the
top and bottom and the width of the mat
is 14^ inches. Now get out the base
moulding of the bonnet (section R, Plate
XVI) and the sides. Connect the base,
sides and arch, and put in the back corner
pieces and quarter-round corners. The
round columnsbelong
on the front. Brass
caps and bases hold them in place. The
door is made of mahogany y$" thick with
mitered corners. The door hinges are
nothing more than two small pieces of
brass, shaped and located as shown on
Plate XVI. Two small brass round-head
screws are put into the underside of the
arch and down on the base moulding,
passing thru the brass hinges on the right
hand side. The windows on the sides are
3" by 5" and are held in place with cleats
on the inside.
There are three ornamental posts on
the top. The broken arch is jointed in
back of the center post and the grain
should run diagonally. This clock case
has three ornamental
mahogany
urns
which are placed on top of the posts.
Usually they are made of brass. The
inlay around the front of the case is
detailed on Plate XVI and directions for
setting it in place may be found on the
pages pertaining to the card tables, par-
ticularly on page 23.
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GRANDFATHER CLOCK 33
flll d&tailsof mouldings, inlay,
door and corners
are drawn ok other dhcet with cross-sect/ons fl-B, C-D, E-F.
BacK [//ew
"/I Grandfather C/oc/f''
from HoHis , Maine .
Made /8OQ-/Q2O.
Front l//ew
PLATE XIV
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34 WORKING DRAWINGS OF COLONIAL FURNITURE
PLATE XV
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GRANDFATHER CLOCK 35
Center Ornament
2 'High
~ / "Diameter
AND CROSS OeCTIONST/ILL CLOCK r/?oM /-ioLLisy Me.
PLATE XVI
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BANJO CLOCK
THEbanjo clocks are among the new styles which are attract-
ing attention at present. This design of a small clock case
was first made and sold by the famous Willards of Boston. There were
at least four clock makers by this name and the most highly prized ofall banjo clocks are the ones made by them. The first ones were made
about 1802. Reproductions are made in quantities now and in all
sizes, from the small 2" dials to the size of the one given on this drawing.
DIRECTIONS FOR MAKING THE CASE
Perhaps the wisest thing to do would
be to purchase the movement first. Then
if any dimensions on this drawing are not
suited, slight alterations can be made
without affecting the design. The back
should be worked out first. It is ^"thick and about 30" long. Put a center
line down thru the middle of it and locate
each part, the head and box. Draw the
outline of the back which extends ^"beyond the case on all sides and band-saw
to shape. Construct a box with mitered
and spHned corners and glue in place on
the backboard. The head is made of two
thick pieces of mahogany and is turned on
the outside. The opening for the works
can be band-sawed as space for the
pendulum walls must be cut out. These
walls pass from under the dial bezel, down
thru the box to the bottom. The bezel
should be made up with three courses of
segments to prevent it from warping
(see Fig. 14, page 29). A hinge on the right
hand side and a catch on the left hand
hold it in place. The pendulum bezel can
be made of single thickness stock with
mitered corners. The upper ends are left
longer than the space to be covered so
that the dial bezel will hold it. The box
bezel is mitered and has two hinges and a
clasp. The top ornament is made of wood
and is square. A small brass eagle with
outstretched wings is often found on
clocks of this kind. The overhanging
edge of the back should be rounded over.
A BANJO CLOCK OF THIS
DESIGN MAY BE MADE TO
SUIT ANY SIZE MOVEMENT
the mold. It would be
for any molder to handle
pattern unless it were
Two brass
scrolls are
placed oneach side of
the case, so it
will be neces-
sary to make
a wood pat-
tern in order
to secure the
castings. The
best way is to
make a full
size lay-out
of the scroll
on a piece of
pine (see Fig.
1 6, page 29)
about 6"
wide. Cut theoutline of the
scroll on pine,
2" thick and
glue it on the
board. Have
the edgessmooth and
allow enough
draft so that
the patternwill drawclean from
a difficult task
such a delicate
fastened to a
36
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BANJO CLOCK 37
BANJO CLOCK
MADEABOUr jes.o
PLATE XVII
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WORKING DRAWINGS OF COLONIAL FURNITURE
board. File the castings smooth and
lacquer with very thin yellow shellac.
If it is not convenient to make the pat-
terns and castings, wooden scrolls can be
used. They are not so attractive but were
not uncommon on banjo clocks.
WINDSOR CHAIRS
WINDSORchairs were first made in England. They were very
common during the Colonial days. The seats were made of
pine and the backs of some kind of hardwood as ash or hickory. Quite
a few furniture dealers can now furnishreproductions
of the Windsor
styles in mahogany with more comfortable lines and nicer finish than
the older types, which makes them very desirable. The directions given
below are suited for any of the Windsor chairs which are included in
this series.
DIRECTIONS FOR MAKING THE CHAIR
Make the seat first, locating the centers
for the holes where the legs are to set in
place on the underside.
Usewooden jigs as illus-
trated in Fig. 15, page
29, for boring the holes
at the proper angles.
Bevel the edges of the
seat and hollow the topsurface so that it looks
and feels comfortable.
Do not bore the holes
through the seat unless
the drawings show them
that way. Turn the
legs and rounds on the
lathe and attach them
to the seat. The rim
for the fan-shapedbacks can be bent on a
form marked out on a
work-table or on theWINDSOR CHAIR
floor. Make a full size lay-out of the
shape of the back and nail small blocks
every 6" apart to hold the rim in place.
Steam or soak the rim in hot water and
place it in the form
where it should be left
for at least 36 hours.
When it is thoroughly
dry, remove it and fit it
to the holes on the seat.
Pass theends through to
the under side of the
seat and split the ends
open and drive in
wooden wedges. Shape
up the spindles with a
spokeshave and bend
on a form. When they
are ready, bore the holes
through the rim and
push the spindles up
through the holes. Then
place glue in the holes
on the seat and pull the
into place. When thepindles down
glue is dry, cut the projecting ends off
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WINDSOR CHAIRS
PLATE XVIII
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4o WORKING DRAWINGS OF COLONIAL FURNITURE
so that they are even with the outside of
the rim. Sandpaper all parts and paint
the chair with two coats of black enamel.
The small ridges or grooves on the legs
and spindles should be colored with two
or more coats of gilt or bronze paint.
These finishing directions refer to the
chair if pine and ash are used in its con-
struction.
The drawings on pages 39 to 42 show
Winsor chairs of varied details. The
method of construction is largely the
same as described above. If mahoganyis used, see page 52.
WINDSOR CHAIRS WERE USED IN
COLONIAL DAYS. THEY ARE AGAINBECOMING POPULAR AND CAN NOWBE HAD IN VARIOUS DETAILS AND
FINISHES
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WINDSOR CHAIRS 41
PLATE XIX
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WORKING DRAWINGS OF COLONIAL FURNITURE
PLATE XX
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CHAIR DETAILS
1 7SO
CH/PPEND/ILE
I7QO
I7Q5
HEPPLEWHITE
IQOO
SHERATON
1810
1810
EMPIRE
1630
PLATE XXI
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HEPPLEWHITE CHAIR
SOMEof the finest chairs in existence were made from the designs
of Hepplewhite. They are noted for their fine delicately shaped
outlines with beautiful inlaying and shield-shaped backs. Mahoganyis used and the seats are upholstered. The chairs are rather fragile
and cannot compare with the Chippendale and Windsor styles for
strength and durability.
DIRECTIONS FOR MAKING THE CHAIR
The joints of the
chair from the seat
down are all mortised
and tenoned. The
back can be repro-
duced by drawing 2"
squares on a sheet of
heavy paper and
checking off the in-
tersections on the
drawing. After draw-
ing the outline, cut it
out and use it for a
pattern. The backlegs are extended
above the seat, mak-
ing a total length of
not less than 36".
First one side is band-
sawed and then the
other. Use the waste
THE HEPPLEWHITE CHAIR is MARKED BY
THE SHIELD-SHAPED BACK AND FINE INLAY
the second cut. The
back shield is jointed
at the bottom and a
piece of wood Wthick is fitted into
the corner. The slats
are housed into this
piece and also to the
under side of the rim
above. Corner blocks
are placed under the
cushion to reinforce
the frame of the chair.
A white holly line is
inlaid around the mid-
dle of the rim and is
represented by a
heavy black line on
the drawing. Cross-
sections at A B and
C D will show the
pieces to form a cradle when making shape of the rim.
44
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HEPPLEVVHITE CHAIR 45
PLATE XXII
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EMPIRE CHAIR
THEEarly Empire chairs are very pretty and are easily dis-
tinguished from the other periods. Sweeping curves and heavier
construction are some of the notable features. Later models are less
valuable due to unattractive carvings and jig saw work which were
added.
DIRECTIONS FOR MAKING THE CHAIRThe back legs of this chair can be made
of single thickness mahogany, from the
floor line up to the point
marked / on the draw-
ing. All joints from
here down are mortised
and tenoned. The front
and back rails are madeof oak and band-sawed
to shape. They are then
veneered with cross-
grained mahogany. Sec-
tion C D shows a
quarter-round piece of
mahogany along the top
edge of the front rail
and a thin piece at-
tached to the underside.
A mortise %" wide and
X" deep, is cut into
the back rail to receive
the middle panel which
connects with the seat
The middle panel is cut from a piece of
burl-grained wood and may have to be
WINDSOR CHAIR EMPIRE CHAIR
frame and the curved back. The back
is
mortisedto the
back legs at / andhas a veneered surface and a raised
edge which can be glued on and rounded
over to the shape shown in the section.
steamed or soaked in hot water to fit it
into the grooves. The cushion is remov-able and is covered with chintz. The
frame of the cushion is made of oak and
rests on the front and back rails.
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EMPIRE CHAIR 47
PLATE XXIII
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COLONIAL LOOKING GLASS
THISis one of the styles which can be associated with the Chip-
pendale and Hepplewhite periods. The frames are made of
mahogany and are often embellished with gilt work around the scrolls.
The sizes vary a great deal. Most of them are about one-third as large
as this one.
DIRECTIONS FOR MAKING THEFRAME
Make a mahogany frame of stock which
is 24" thick and \%" wide. Cut some
cross-grained wood on the circular saw y"thick, 6" wide and i" long, and glue it to
the face of the frame, mitering the corners.
Take a piece of cardboard and mark it off
in 2-^" squares. Copy the scroll for the
top, sides and base of the frame and cut
the outline. Use burl-grained wood f"
thick and dowel and glue it to the frame.
The grain of the side pieces should run in
the same direction as the top piece. When
the glue is dry, place the card-board
patterns on the wood and mark the out-
line. Take the frame to the band-saw and
cut close to the lines. Smooth up the
edges, round over the arrises of the frame
and the project is ready for staining and
finishing.
A very neat little frame can be made from the same design by planning to use
a mirror measuring 7" x 11".
COLONIAL LOOKING GLA
48
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COLONIAL LOOKING GLASS
CQLON//IL. LOOKING-GLASS
MADE ABOUT /?jo.
PLATE XXIV
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OLD FASHIONED MIRROR
THISis a style which developed during the Empire period and is a
great favorite today. Students beginning wood-turning will
find this project a good application of some of the exercise models
which are usually made. The finish is quite an important feature and
calls for gold leaf, but for a school project a fairly good substitute is a
bronze or gilt paint.
DIRECTIONS FOR MAKING THE FRAME
Fig. II, page 29) at the ends and at one
spot near the middle. Locate the exact
centers of the joints on both ends and
place the piece in the lathe. Turn down
the wood to the right shape as though it
were a solid piece of wood. Sandpaper as
smooth aspossible
and then remove the
wood from the lathe. With a thin bladed
knife, pry the two pieces apart and then
fit each piece to the sides of the frame.
The spindles for the top and bottom are
made in the same way.
Parts of the frame are finished in gold
and the rest in black. These places are so
noted on the drawing. Put about a
teaspoon of lampblack into a cup of
orange or yellow shellac. Stir thoroly and
apply a little on a clean piece of pine. If
the color is not a jet black, add more
lampblack. It will take at least two coats
to make the frame look right. The corner
blocks are gilded on the top surface if
there are no rosettes, and black along the
edges.
The rest of the frame is gilded.
The old mirrors generally had colored
pictures placed in the upper space and
were painted directly on the glass. Colo-
nial scenes were the most common. Acolored picture of Mt. Vernon will look
very well in this frame and can be placed
behind clear glass.
This frame is made like any other
picture frame, with or without mitered
corners as
the blocks
will cover
and lock
thejoints.The parti-
tion strip
across the
framemust be
rabbeted
on both
edges to
i nclud e
the pic-
ture and
the mir-
ror. The
original
frame hasOLD FASHIONED MIRROR
small stamped brass rosettes tacked to
the corner blocks, but if they cannot be
made or obtained, each block can be put
on a face-plate in the lathe and turned.
The half-round spindles on the sides
and ends of the frame are made in the
lathe. For the long pieces, take two
pieces of pine W* i>" and at least 24"
long. Glue or fasten them together (see
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OLD FASHIONED MIRROR
OLD FASHIONED MIRROR
Old fash/oncd picture is
painted on glass.Coton/ol
scenes mosf common.
PLATE XXV
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WOOD FINISHING
THEauthor considers it expedient to say a few words about the
finishing of the reproductions which may be made from the
drawings, more especially because much of the mahogany sold is com-
mercially known as baywood. The mahogany antique pieces which
were measured are made of San Domingo mahogany and because of
its
deepreddish natural color does not require
any staining. Baywoodon the other hand, is likely to be a pale brown color, and while
not as desirable, it can be stained and finished to look very well. The
outlined methods may not be in accordance with the best practices
of the finishing room, but will serve for school shop purposes. Theyare based on observations made in antique shops where old fashioned
pieces were being restored and thru experiments and results of making
reproductions from these drawings by students.
FINISHING
1. Sandpaper all parts smooth.
2. Apply one coat potassium bichro-
mate solution.
3. Apply second coat if needed.
4. Sandpaper very lightly.
5. Shellac inlay lines and borders.
Use white shellac.
6. Apply one coat of dark mahogany
oil stain.
7. Apply six or more coats of very thin
orange shellac. Rub each coat down with
pumic stone and oil. Rub last coat with
rotten stone and oil. Use no varnish on
any of these projects.
Potassium bichromate solution: Dis-
solve ^ oz. of potassium bichromate in
onepint
of hot water. Usecold,
and test
on piece of scrap wood. When dry, the
color of the wood will show a dull cocoa
brown. A weak solution will not discolor
the inlay. The latter should be carefully
shellacked, however, before the stain is
applied.
52
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INDEX
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54
Spur, of marking gage
Standard, for table
Steel, points for reeding
Steel-square
Stock, five-ply
Straight-edge,used in
reedingStyles, Period
INDEX
Page
.14,22 Tables, Sheraton Breakfast.
. . 26 Sheraton Card
. . IO Sheraton Work
7 Tavern
. . 20 Tapers10
' 43v
VVeneers
w
Page
14,15
IO, II
12,13
7,16,17
.14,15,22,25
. .12, 14,22,25
7,49
3i
52
50
31
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Books for the Furniture Maker's Library
Design and Construction in Wood
By WILLIAM NoYES, Formerly Assistant Professor, Department of Industrial Arts,
Teachers' College, Columbia University, New York City.
A charming book giving due consideration to the esthetic side of wood-working. The book
illustrates a series of simple, attractive articles of furniture and tells about their construc-
tion. A pleasing volume for those interested in good design and skillful workmanship.Well and abundantly illustrated.
Handwork in WoodBy WILLIAM NOYES, Formerly Assistant Professor, Department of Industrial Arts,
Teachers' College, Columbia University, New York City.
A handbook for teachers and a textbook for normal school and college students. A compre-
hensive and scholarly treatise, covering logging, sawmilling, seasoning and measuring, handtools, wood fastenings, equipment and care of the shop, the common joints, types of wood
structures, principles of joinery, and wood finishing. 304 illustrations excellent pen draw-
ings and many photographs.
Woodwork for Secondary Schools
By IRA S. GRIFFITH, Professor of Industrial Education, University of Wisconsin.
The most complete and comprehensive textbook on secondary school woodworking ever
published. Treats of Common Woods, Tools and Processes, Woodworking Machines,
Joinery, Wood-Turning, Inlaying and Wood Carving, Wood Finishing, Furniture Construc-
tion, Pattern Making. Although written for the student, every teacher of high school or
normal school woodwork will find this text a valuable and necessary volume for reference
use. It contains 370 pages and 580 special illustrations.
Art and Education in Wood TurningBy W. W. KLENKE, Instructor in Woodworking and Architectural Drawing, Central
Commercial and Manual Training High School, Newark, New Jersey.
This book is intended primarily for the use of students in normal schools, high schools, col-
leges or similar institutions and for lovers of all things useful and beautiful in wood-turning.It is a textbook and problem book combined. It indicates how the principles of design
should be applied in wood-turning and the problems embody these principles.
Furniture Upholstery for Schools
By EMIL A. JOHNSON, Assistant Professor of Manual Arts, Bradley Polytechnic
Institute.
The only text and reference book on upholstery written for school use. Contains detailed,
practical instructions telling how to upholster a variety of articles, also how to upholster old
furniture and how to do spring-edge upholstery work. Describes necessary tools and
materials. Abundantly and beautifully illustrated.
Seat WeavingBy L. DAY PERRY.
A handbook for teacher or student. Tells how to cane chairs, how to use cane webbing,
how to do rush seating, how to do reed and splint weaving, how to make seats of reeds and
splints, how to prepare raw materials, how to stain, finish, and refinish, etc. Also treats of
the use of cane and other seating materials as a decorative element in furniture construction.
Well illustrated, practical and authoritative.
Ask for a Copy of Our Descriptive Catalog
THE MANUAL ARTS PRESS, Peoria, Illinois
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